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COPYRIGHT. 1 ^ 90 , jJY^ZAMES 
ALE I^Gm^I^ESEI^YED 

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FIELDING SCHOFIELD. 


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FIELDING SCHOFIELD. 


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A. W. DAKIN. 


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B. MOORE. 


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G. W. HARMAN. 


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FIELDING SCHOFIELD. 


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AMES. 















































































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D. T. AMES. 











































































E. K. ISAACS. 


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FLICKINGER. ]29. 






























































































































































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MUSSELMAN. 



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FIELDING SCHOFIELD 



From “The Penman’s Paradise,” by Knapp & Rightmyer. 










































ROBINS. 


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SHAYLOR. 








































































JOHN D. WILLIAMS (From Williams and Packard’s “Gems’’ 

























































































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MILLER 


















































































































From an Illustrated Arithmetic, Published in 1695. 
ELEASER WIGAN, Writing Master, Tower Hill, London. 



From a Work on Penmanship, by JOHN SEDDON, Published in London, 1694. [54. 




















BARLOW. 



WILLIAM MILNS, London, 1794. 








































MORTLAND. [56. 








































































































CAMMOCK. 



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DURYEA. [63. 




























































. COOK. 



VAN DE VENTER. 












































































































A. A. CLARK. 




[ 65 . 
























M. B. MOORE. 



66 ] 


FIELDING SCHOFIELD. 
































LE DOIT E. KIMBALL. 




H. S. BLANCHARD 



0. J. PENROSE 



[67. 





























68.] 





A. W. DAKIN. 











































LOURISFUNG. 



D. T. AMES. 


[ 69 . 























































70 ] 
































































































E give below a paper on Flourishing con¬ 
tributed to THE PENMAN’S ART 
JOURNAL, by C. P. Zaner, in connection 
with the accompanying exercises, also from his facile 
pen. If anything more to the point within the 
same space limits has ever appeared in print, the 
fact has entirely escaped us. 

Flourishing, like fiction, appeals strongly to 
one's imagination, and like poetry, to one’s sense 
of harmony. Like the former it is fascinating, 
and like the latter inspiring. Knowledge and skill combine 
more closely in this than any other art. Without the former 
the latter can be employed only in aping others; without 
skill knowledge is as a candle under a bushel. 



The three essentials in flourishing are grace, harmony and artistic beauty. The first is that which rounds the curves ; the second arranges 
the curves in one harmonious whole, and the last adds the shade and polish to that which grace and harmony have so pleasingly arranged. Grace 
is produced by skillful motions ; harmony by study, and artistic beauty by taste. 

If you have a good knowledge of art, and can write skillfully, you will have little or no difficulty in learning to flourish—in fact, you will 
find the road to the “palace of flourishing” pleasant and easy. But without this knowledge and skill you will find it a very tedious and difficult 
art, with but little recompense in the end other than a few recommendations stating that “while your work is very graceful it is not natural,” 
or, “ while your flourishing is very beautiful your writing is poor.” And were I to advise any one on this subject, I would say, be proficient in 
writing, learn engrossing, practice drawing, study portraiture, and, lastly, add the graces of flourishing. The latter serves as a capsheaf, but it 
won’t do for a foundation. 


To achieve success we need the practical element of art; to appreciate it we need the beautiful. Flourishing is ornamental rather than 
practical. It consists of a series of strokes made rapidly and gracefully. A stroke made slowly is not flourishing—it is drawing; yet it may be 
in the form of flourishing. The fascinating and inspiring qualities of this art lie in the skillfully made and gracefully curved strokes. To watch 
the pen of an artist at flourishing move gracefully off, and with a few strokes make with almost magic rapidity some form in ideality’s domain } 
seems almost miraculous, but it is not; it is the product of skill. 

For those who desire to learn flourishing I have arranged herewith copies for practice, beginning with the simplest exercises and ending 
with a design. All strokes representing free-hand, rapid work were made as represented, and should be practised in the same manner. See page 70. 


Hold the pen (as illustrated) between the thumb and second finger, both of which should be well curved, the former at point marked X, 
so as to allow the end of each to come squarely against the holder on opposite sides close to the pen. The holder should rest against the first 
finger which should be held well out from the rest; and the little finger should serve as a sliding rest for the hand for ordinary work, but for 
large, bold strokes, it will be necessary to allow the hand to rest on the pisiform bone marked 0, in order to prevent the finger coming in 
contact with freshly made, shaded strokes. 


Make all shaded strokes from the body at an angle of sixty degrees. Make all strokes freely and firmly, and the shaded ones with more 
force and positiveness than the light ones. See that both teeth of the pen press upon the paper evenly, so as to make a smooth shade and 
a strong line, and prevent the flipping of ink on the light strokes. Do not get discouraged if you fail to execute the designs as well as the 
copies, but persevere. Patience, study and practice will produce the desired results. 

Take one design at a time and work faithfully at it, until you secure a harmonious effect. Study simplicity, harmony and design. Be 
earnest, be progressive, be original. Make but few strokes, and make them freely, firmly and harmoniously. 


[ 71 . 











/ 



MES’ COMPENDIUM OF PRACTICAL AND ARTISTIC PENMANSHIP is recognized as the standard work for the engrosser and artist 
penmao. It has seventy-two full-page-plates, 11x14, printed on extra heavy plate-paper and covers the entire range of the penman’s 
art,—writing, flourishing, pen lettering, engrossing and general designing. There are over forty standard and ornate alphabets, over 
twenty full-page commercial designs, engrossed resolutions, memorials, certificates, title pages, etc., handsomely bound in cloth and gilt. 
Mailed free on receipt of price, $5.00. 

AMES’ GUIDE TO SELF INSTRUCTION IN PRACTICAL AND ORNAMENTAL PENMANSHIP. This is a work of sixty-four 
pages, 6x9, devoted exclusively to instruction in plain writing, off-hand flourishing and lettering. Thirty-two pages are given to plain 
writing with copies for practice ; fourteen pages to the principles of flourishing ; sixteen pages to alphabets, package marking, 
monograms, etc. Price by mail, in paper covers, 75 cents, cloth and gilt, $1.00. 

AMES’ COPY SLIPS FOR SELF INSTRUCTION IN WRITING, Revised Edition. This work is composed of thirty-six detachable 
slips that may be more conveniently used for copies than if they were incorporated in book form. Full instructions accompany the slips and 
the lessons are graded progressively, starting from the very principles. Twenty slips are devoted to standard business writing with 
forms of business letters, notes, bills, etc., social notes of invitation, lady’s hand, etc. There are besides examples of shaded 
professional and engrossing hands, alphabets of Old English and German Texts, Engrossing, Roman, Italic and Gothic, also Marking Alphabet 
with examples of same. Price by mail, 50 cents a set. 

AMES’ BOOK OF FLOURISHES, 72 pages, 8x11, containing 125 specimens by 72 leading American penmen. Price, prepaid, heavy paper 
covers, $1.00, cloth and gilt, $1.50. 

THE PENMAN’S ART JOURNAL for fourteen years has maintained its reputation as the head of papers of its class printed in the 
English language. It is published monthly, 16 pages, 11x16, on fine paper, and is profusely illustrated with every species of penmanship cuts, 
also general ornamental designs for book illustrating and other artistic purposes. Every number contains instruction in writing and other branches 
of penmanship. Price, $1.00 a year, with choice of several premiums. Single copy, 10 cents. 

FINE DRAWING PAPER. We call special attention to our new roll drawing paper. We believe that there is nothing in the market 
at the price that is its equal. This is in roll 30 inches wide and of any length desired. It is specially adapted for flourishing, pen drawing, 
engrossing and all large specimen work. We will put up four yards of this paper on straw-board roll and send by express for $1.00, for trial. 
Larger orders at the same price, 25 cents per yard. We prefer not to send it by mail, owing to the risk of its getting injured. If desired, 
however, we will mail in a strong straw-board tube, at the purchaser’s risk. No less quantity than four yards sold. Penmen should give it a trial. 

AMES’ BEST PENS are the best pens made. Specially manufactured abroad to our order and imported by us. Quarter gross box, 35 
cents, gross box, $1.00. Unsurpassed for fine writing and flourishing. 

We have on hand thousands of cuts adapted to catalogue, circular, newspaper illustrating and advertising. These cuts embrace every 
form of script and flourish, ornamental designs, lettering, etc. Catalogue sent on application. Every class of artistic engraving made from your 
copy or ours. We also have in stock various designs of blank diplomas suitable for any kind of School, College or Seminary. Special diploma 


designs made to order. Diploma circular and specimens mailed for 25 cents. 


Address, 


I. !. Ames k Ion, 202 Broadway, I. Y. 



72 .] 














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